Camera Gear Review News

Just Posted: Canon RF 24mm F1.8 Macro IS STM Lens Review.

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Just Posted: Canon RF 15-30mm F4.5-6.3 IS STM Lens Review.

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Just posted: Sigma 20mm F1.4 DG DN Art Lens Review

Image quality test results from a second lens (Sample 2) are now available. The second lens performs similarly to the first.

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Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Canon RF 15-30mm F4.5-6.3 IS STM Lens page.

This lens has strong barrel distortion at the wide end.

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Just posted: Sigma 24mm F1.4 DG DN Art Lens Review

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Image quality test results are now available on the Canon RF 24mm F1.8 Macro IS STM Lens page.

Note that this lens has strong barrel distortion.

Compared to the Canon RF 35mm F1.8 IS STM Macro Lens

Compared to the Canon RF 50mm F1.8 STM Lens

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In addition to the Image quality test results shared last week (20mm, 24mm), vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Sigma 20mm F1.4 DG DN Art Lens and Sigma 24mm F1.4 DG DN Art Lens pages.

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Image quality test results are now available on the Sigma 24mm F1.4 DG DN Art Lens page.

This lens is considerably sharper at f/1.4 than Sigma's first 24mm f/1.4 Art lens.

Compared to the Sigma 24mm f/1.4 DG HSM Art Lens

Compared to the Sony FE 24mm F1.4 GM Lens

Compared to the Sigma 20mm F1.4 DG DN Art Lens

Compared to the Sigma 24mm F2 DG DN Contemporary Lens

Compared to the Sony FE 24mm F2.8 G Lens

Compared to the Tamron 24mm f/2.8 Di III OSD M1:2 Lens

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Image quality test results are now available on the Sigma 20mm F1.4 DG DN Art Lens page.

This lens is considerably sharper at f/1.4 than Sigma's first 20mm f/1.4 Art lens.

Compared to the Sigma 20mm f/1.4 DG HSM Art Lens

Compared to the Sony FE 20mm F1.8 G Lens

Compared to the Sony FE 24mm F1.4 GM Lens

Compared to the Sigma 20mm F2 DG DN Contemporary Lens

Compared to the Sigma 24mm f/1.4 DG HSM Art Lens

Compared to the Tamron 20mm f/2.8 Di III OSD M1:2 Lens

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While announcing the Canon EOS R10, promoting the camera as the least expensive R-series option seemed logical. However, the Canon EOS RP was only $20.00 more expensive. That price differential is meaningless to anyone investing in a camera at the quality level we are discussing.

Let's make some lists highlighting many of the differences between these models.

Here are some of the R10 advantages:

• DIGIC X vs. DIGIC 8
• Higher density imaging sensor provides greater reach
• HEIF and Dual Pixel RAW formats available
• Joystick multicontroller
• EVF magnification 0.95x vs. 0.70x
• EVF has greater nose relief
• Built-in flash
• X-Sync 1/200 with mechanical shutter, 1/250 electronic 1st curtain vs. 1/180sec
• Superior AF system featuring Subject Tracking and Eye Detection AF independant from AF area selection
• Continuous shooting up to 15 fps with mechanical shutter for 460 JPG or 29 RAW images vs. 4 fps for card capacity limited images (fast memory cards can far exceed specifications)
• Continuous shooting up to 30 fps with electronic shutter
• RAW burst mode and preshooting
• 4K 30 fps with 6k oversampling and Full HD 120 fps vs. 4k 24p and Full HD 60 fps
• Max movie duration of up to 2 hours vs. 29:59
• Max Live View frame rate 120 fps vs. 59.97 fps
• HDMI Micro out vs. HDMI Mini
• Power switch is accessible to grip hand
• Longer battery life: 290 vs. 210 with EVF, 450 vs. 250 with LCD
• Slightly different shape: 4.8 x 3.5 x 3.3" vs. 5.22 x 3.35 x 2.76" (122.5 x 87.8 x 83.4mm vs. 132.5 x 85.0 x 70.0mm)
• Slightly Lighter: 15.1 vs. 17.1 oz (429 vs. 485g)
• Slightly Less expensive

Here are the RP advantages.

• Slightly higher resolution (26.2 MP vs. 24.2 MP, here is that comparison)
• Larger imaging sensor with larger pixels shows less high ISO noise, including less high ISO noise at the pixel level (here is that comparison)
• AF working range down to EV -5 vs. EV -4
• Metering Range to EV -3 vs. -2
• ISO 100-40000 (in 1/3-stop or whole stop increments), expanded to L:50, H1: 51200, H2: 102400 vs. 100-32000 (in 1/3-stop or whole stop increments), H1: 51200
• 3 Custom Modes vs. 2

As seen in the product images, the controls for these cameras do not differ greatly.

Those shooting fast action will find the R10 better suited to their needs. Portrait photographers will appreciate the better image quality the RP delivers.

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Canon EOS R10 Review
Canon EOS RP Review

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The simultaneously announced Canon EOS R7 and Canon EOS R10 are the first APS-C imaging sensor format cameras in the Canon R-series. With identical era technology, they provide an interesting comparison.

Here are a pair of lists highlighting many of the differences between these models.

These are some of the R7 advantages:

• Significantly higher resolution (32.5 MP vs. 24.2 MP, here is that comparison), with greater reach
• 5-axis IBIS (In-Body Image Stabilization) provides approximately 7-stops of shake correction (increases with lens IS coordination) and auto image level
• AF working range down to EV -5 vs. EV -4
• Mechanical shutter to 1/8000 and electronic shutter to 1/16000 vs. 1/4000 for both
• EVF magnification of 1.15x vs. 0.95x
• Rear LCD with 1.62m dots vs. 1.04m
• X-Sync of 1/250 vs. 1/200 with mechanical shutter and 1/320 vs. 1/250 with electronic 1st curtain
• Continuous shooting up to 30 fps with electronic shutter for 224 JPG or 51 RAW images vs. 23 fps. for 70 JPG or 21 RAW images (fast memory cards can far exceed these specifications)
• Rear control dial vs. top control dial
• 4K 60 fps with 7k oversampling vs. 4K 30 fps with 6k oversampling
• Movie position on the power switch
• Canon Log 3
• Movie record duration up to 6 hours vs. up to 2 hours
• Water & dust resistance specified vs. not specified
• Dual side-accessible memory card slots vs. single slot in battery door under camera
• Larger LP-E6NH battery provides longer life (EVF: 500 vs. 290 shots, LCD: 770 vs. 450 shots) than LP-E17
• Shutter Durability Rating specified at 200,000 vs. not specified
• Dual Pixel RAW format

Here are the R10 advantages.

• Considerably less expensive
• Built-in flash
• Smaller: 4.8 x 3.5 x 3.3" vs. 5.2 x 3.6 x 3.6" (122.5 x 87.8 x 83.4mm vs. 132.0 x 90.4 x 91.7mm)
• Lighter: 15.1 vs. 21.6 oz (429 vs. 612g)

As seen in the product images, the controls for these cameras differ somewhat.

It is easy to justify the higher cost of the R7, but if those benefits are not important, the R10's advantages just might be.

More Information

Canon EOS R7 Review
Canon EOS R10 Review

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What would a comparison between the more expensive, larger-sensored R6 and the higher resolution, faster-shooting R7 look like? Soon after the Canon EOS R7 announcement, I put a comparison with the Canon EOS R6 on the to-do list.

Let's make some lists highlighting many of the differences between these models.

Here are some of the R7 advantages:

• Significantly higher resolution (32.5 MP vs. 20.1 MP, here is that comparison) with greater reach
• Modestly superior AF system featuring Subject Tracking and Eye Detection AF independant from AF area selection
• Electronic shutter with up to 1/16000 vs. 1/8000 (the R7's mechanical shutter also tops out at 1/8000)
• Viewfinder magnification 1.15x vs. 0.76x
• X-Sync of 1/320 with electronic 1st curtain shutter vs. 1/250
• Continuous shooting up to 15 fps with mechanical shutter vs. 12 fps.
• Continuous shooting up to 30 fps with electronic shutter vs. 20 fps.
• RAW burst mode and preshooting
• Movie mode setting on power switch that is accessible to grip hand
• Movie recording up to 6 hours vs. up to 29:59
• Canon Log 3 vs. Canon Log
• Dual Pixel RAW format
• Auto image level
• USB 3.2 Gen 2 vs. USB 3.1 Gen 2
• Slightly Smaller: 5.2 x 3.6 x 3.6" vs. 5.45 x 3.84 x 3.48" (132.0 x 90.4 x 91.7mm vs. 138 x 97.5 x 88.4mm)
• Slightly Lighter: 21.6 oz (612g) vs. 24.0 oz (680g)
• Less expensive

Here are the R6 advantages.

• Battery grip available (the R7 should have this option)
• Larger imaging sensor with larger pixels shows less high ISO noise at the pixel level (here is that comparison)
• AF working range down to EV -6.5 vs. EV -5
• Metering Range to EV -3 vs. -2
• Larger image buffer — 1,000+ JPG or 240 RAW images vs. 224 JPG or 51 RAW images (fast memory cards can far exceed these specifications)
• ISO 100-102400 (in 1/3-stop or whole stop increments), L:50, H1: 204800 vs. 100-32000 (in 1/3-stop or whole stop increments), H1: 51200
• 0.5" (12.7mm) EVF with 3.69 M dots vs. 0.39" (9.9mm) with 2.36M dots

As seen in the product images, the controls for these cameras differ significantly.

The primary choice here is between the R6's larger sensor featuring lower noise and a stronger background blur vs. the R7's higher resolution, modestly more advanced AF system, faster shooting capabilities, and lower price. Both options have merit the choice.

More Information

Canon EOS R7 Review
Canon EOS R6 Review

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With eight years separating their introductions, the Canon EOS R7 and Canon EOS 7D Mark II are significantly different cameras. However, both cameras were designed to deliver high-performance at a reasonable price — and both have a "7" in their moniker.

Let's look at a comparison highlighting many of the differences between these models.

Here are some of the R7 advantages:

• Significantly higher resolution (32.5 MP vs. 20.2 MP, here is that comparison) with greater reach
• 5-axis IBIS (In-Body Image Stabilization) provides approximately 7-stops of shake correction (increases with lens IS coordination) and auto image level
• DIGIC X vs. Dual DIGIC 6
• Vastly superior AF system featuring Eye Detection AF and near full-frame coverage, functioning in light level ranging from EV -5 to EV 20 vs. -3 - 18 and with apertures as narrow as f/22
• Silent electronic shutter with up to 1/16000 vs. mechanical shutter to 1/8000 (the R7's mechanical shutter also tops out at 1/8000)
• Metering Range to EV -2 vs. 0
• EVF with up to 120 fps refresh rate, OVF emulation, considerably more information configurably available, greater nose relief, and 1.15x magnification vs. OVF with 1.00x
• Vari-angle touch screen 2.95" (7.5 cm) LCD with approx. 1620k dots vs. 3.0" (7.7cm) LCD with approx. 1040K dots
• X-Sync of 1/320 with electronic 1st curtain shutter (both cameras X-Sync at 1/250 with the mechanical shutter)
• Has CRAW compressed file format available vs. reduced resolution M-RAW and S-RAW (R7 CRAW files are smaller than 7D II RAW images, despite the 32.5 MP vs. 20.2 MP difference)
• Continuous shooting up to 15 fps with mechanical shutter for 224 JPG or 51 RAW images vs. 10 fps for 130 JPG or 31 RAW images (fast memory cards can far exceed these specifications)
• Continuous shooting up to 30 fps with electronic shutter for 126 JPG or 42 RAW images (fast memory cards can far exceed these specifications)
• RAW burst mode and preshooting
• 4K UHD (3840 x 2160) 60 fps movies and Full HD up to 120 fps, recording up to 6 hours vs. Full HD (1920 x 1080) 60 fps for up to 29:59
• Canon Log 3
• ISO 100-32000 (in 1/3-stop or whole stop increments), H1: 51200 vs. 100-16000 (in 1/3-stop or whole stop increments), H1: 25600, H2: 51200
• Built-in Wi-Fi (vs. Wireless File Transmitter WFT-E7) and Bluetooth
• HEIF and Dual Pixel RAW format available
• USB 3.2 Gen 2 vs. USB 3.0
• USB Power
• Dual UHS-II SD memory card slots vs. one CF and one UHS-I SD slot
• HDMI Micro out vs. HDMI mini out
• Utilizes newer RF mount, compatible with all RF lenses in addition to adapting to all 7D II compatible lenses
• Smaller: 5.2 x 3.6 x 3.6" vs. 5.9 x 4.4 x 3.1" (132.0 x 90.4 x 91.7mm vs. 148.6 x 112.4 x 78.2mm)
• Much lighter: 21.6 oz (612g) vs. 32.10 oz (910g)

That list is solid, but the old 7D Mark II holds some advantages.

• Battery grip available (the R7 should have this option)
• Cross-type AF points sensitive to lines of contrast in two directions
• Exposure compensation of -5 to +5 EV vs. -3 to +3 EV
• OVF with instant response
• Top LCD panel (I don't find these to be as important on mirrorless cameras)
• Higher level of weather sealing
• N3-type remote control terminal vs. E3
• Built-in GPS
• Built-in pop-up flash with remote flash master control capabilities
• PC Terminal socket
• Anti-reflection LCD surface
• Longer battery life with viewfinder use — 670 vs. 500 shots.

As seen in the product images, the controls for these cameras differ greatly.

Introducing a new camera does not make an old camera perform worse. However, the newer cameras' features are often highly attractive.

When the Canon EOS 90D was introduced, the 7D II recommendation was challenged. With the R7, there is no question about which camera I prefer — get the R7. Of course, the 7D Mark II being discontinued makes the decision even easier, unless that camera's considerably lower used price attracts you.

More Information

Canon EOS R7 Review
Canon EOS 7D Mark II Review

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Thanks to suggestions and comments, clarifications and additional information have been added to the Does an APS-C Format Imaging Sensor Increase Reach? EOS R7 vs. R5 Comparison article.

Let's talk about "reach", which I'll loosely define as the number of pixels remaining in the desired composition, rendering a subject large when the image is viewed at 100% resolution. Longer focal lengths are the ideal method for accomplishing "reach" with any camera, but the term "reach" is usually reserved for when the longest available lens focal length is not long enough for the desired composition.

This article evolved from its conception, and with crop factors, focal lengths, extenders (teleconverters), pixel density, and reach in the discussion, I take on the challenge of omitting confusion.

To get started, I'll share the original purpose behind this article. A friend is on a mission to obtain sharper, higher-resolution images of distant birds. He is using an EOS R5, currently Canon's highest resolution mirrorless camera, with a Canon EF 600mm f/4L IS III USM Lens and EF 1.4x III Extender mounted.

The primary question is, will the Canon EOS R7 and 600mm F4 lens provide better final image quality than the R5, 600mm F4 lens, and 1.4x extender combination? I'll answer that specific question while providing more widely relevant information.

An important clarification is that an APS-C imaging sensor's smaller size does not provide more "reach" than a full-frame imaging sensor. Instead, it crops away a portion of the image circle. While the cropping provides a significant 1.6x narrower angle of view, simulating better reach in the viewfinder, a higher pixel density on the imaging sensor is what provides reach. That most APS-C imaging sensors have a higher pixel density than the full-frame camera models means that photographers touting APS-C cameras as having a reach advantage are usually right, regardless of why they think that.

Mounting a 1.4x extender behind the lens on a full-frame camera makes up for much, but not all, of the full-frame vs. APS-C angle of view difference just discussed. That comment addresses the final framing available but not the reach. When focal length limited, the max available framing is often less important as cropping is likely still necessary. Again, for this article's primary purpose, we are looking for the option that affords the most reach.

For reach, high pixel density is paramount.

A simple way to measure pixel density is to view the pixel size spec. For example, the EOS R5 has a 4.39µm pixel size, and the Canon EOS R7's spec is 3.20µm. Modern image sensors are gapless, so a smaller pixel size correlates to a higher pixel density, and in this example, the R7 has a significantly higher pixel density than the R5.

Interesting is that the R7 pixels are 1.37x smaller than the R5 pixels — creating R7 reach nearly equivalent to that of the R5 with a 1.4x mounted behind the same focal length. The full-frame camera will provide a wider angle of view (1.4x vs. 1.6x) and will provide more pixels overall (45 MP vs. 32.5 MP). Still, when the images are zoomed in to a 100% pixel level view, individual subjects are contained in approximately the same number of pixels from both options. Crop both images to the same composition within the APS-C angle of view, and the images will be nearly identical — assuming that the pixels from both solutions have equivalent quality.

Pixel-level image quality can vary from factors that include low pass filter strength (or lack of this filter), processing applied to the base RAW image, etc.

Another important clarification is that global statements about extender performance must be carefully crafted, as every extender model performs differently with every lens it is mounted behind. Magnifying the image circle of a lens that barely out resolves the imaging sensor may push it past that resolving point, resulting in some amount of blur imparted in an image.

I've long wanted to create an exhaustive extender comparison, but that means testing every camera, lens, and extender combination available, an unrealistic endeavor that is sure to have results impossible to describe concisely. Testing only the lens manufacturer's latest extender models with each lens test provides relevant, valuable results.

When comparing reach, the pixel-level image quality matters, and the R7 and R10 are both excellent in this regard. Always true is that extenders magnify lens aberrations. However, so do higher density imaging sensors.

Another universal truth is that 1.4x extenders reduce the maximum aperture, the focal length to entrance pupil diameter ratio, by one stop (and a two-stop reduction comes with 2x extenders). That one stop is approaching the difference in the amount of light captured by an APS-C sensor vs. the full-frame variant — before any cropping.

Extenders can impact geometric distortion. For example, the Canon RF 1.4x Extender introduces modest barrel distortion. Barrel distortion magnifies the details in the center of the frame more than those in the periphery. In that case, is the 1.4x rating is from the center of the frame (with the periphery magnification something less), or is the magnification rating an average over the entire frame?

Extenders impact AF performance.

"While it’s apparently less than was the case with EF-mount tele extenders and AF, there’s a designed-in reduction in actual AF drive speed of a lens with extenders mounted. This isn’t a design flaw, but rather a feature to ensure consistent AF, and ability for the AF drive to stop at the precise point of sharpest detected focus. Obviously, there’s also the issue of light loss with extenders, and while modern R-series cameras can technically AF at effective max apertures down to f/22, it’s clear that any modern AF system performs better with more light hitting the AF sensor, or image sensor in the case of mirrorless cameras." [Rudy Winston, Canon USA]

As a generalization, smaller pixels create a lower signal-to-noise ratio (SNR) and show more noise visible at a 100% resolution view. While that aspect does not distinguish between full-frame and APS-C imaging sensor sizes, APS-C imaging sensors often have higher pixel densities. This means that 100% view comparisons typically show full-frame models outperforming APS-C models.

Because of its larger size, a full-frame format (35mm) imaging sensor captures over a stop more light than an APS-C format sensor, with equivalent output size reflecting that difference in noise levels.

If cropping the full-frame image to the APS-C angle of view or narrower, the sensor size advantage evaporates, and in that case, f/4 is twice as wide as the f/5.6 max aperture of the 600 F4 + 1.4x combination.

Higher density imaging sensors show the effects of diffraction more readily, with slight effects beginning to show at about f/5.2 for the R7. However, those photographing long-distance subjects with long telephoto lenses likely want the widest aperture available, avoiding diffraction issues.

Should I get a higher pixel density camera or a longer focal length lens is a legitimate question. When getting to the long telephoto focal lengths, with reach as a goal, the camera option may be smaller, lighter, and less expensive.

A variation of that decision and the specific comparison investigated by this article is: should I get an EOS R7 or a 1.4x extender for a full-frame camera? Both options meet the same need.

When focal length limited with the highest resolution full-frame camera model, moving to a longer focal length lens with equal or better image quality is the ideal solution. However, such a lens is not always available, and it may be extremely expensive if it is — potentially far more costly than the R7.

In the case of the Canon RF 600mm F4 L IS USM Lens, Canon offers longer lenses, but with integrated 2x extenders, the Canon RF 800mm F5.6 L IS USM and Canon RF 1200mm F8 L IS USM Lenses do not have equivalent image quality and they are extremely expensive.

Let's take a look at a single APS-C vs. full-frame plus 1.4x comparison.

Note that I am testing the RF versions of the 600 F4 and 1.4x as they are what I currently have. The RF 600mm F4 and EF 600mm F4 III lenses have the same optics, and the RF 1.4x has only a slight optical advantage over the EF 1.4x III.

The images below were processed identically to the samples in the image quality test tool, with the low contrast neutral picture style and a very low sharpening value selected. However, the target was photographed at the same distance for both cameras and framed from farther than the standard framing distance.

Here is the R7 vs. R5 resolution comparison using the proper chart framing.

Numerous other camera combinations can be tested, but with the densest imaging sensor available, the R7 will rule all of them at this time, slightly besting the M6 II and the 90D.

Back to the promised test images:

The R7 image appears to have very slightly better resolution, and the R5 result's details are slightly larger, though I doubt these slight differences will be noticed in real-world images. The R5 image has more pixels and a modestly wider angle of view, but the R5 + 1.4x and the R7 have about the same reach.

When composed and cropped identically, the background blur created by 600mm f/4 should be similar to that of the 840mm f/5.6. At the same APS-C or wider angles of view, the R7 should take some high ISO noise advantage from the wider aperture enabling a lower ISO setting, and the R7 should avoid the (minor) AF performance penalty imparted by the extender.

Obtaining a sharp image requires all subject details to remain within the indivdual pixels capturing them during the entire exposure. In other words, motion blur is created by subject details crossing into adjacent pixels while the shutter is open. As imaging sensor pixel density increases, so does the shutter speed required to avoid camera and subject motion blur. The image brightness effect from increasing the shutter speed will often be offset by increasing the ISO setting, which increases noise.

However, increasing the focal length has the same effect. So in the end, the option with the most reach will have the highest shutter speed requirement.

Sometimes the camera settings required for a situation include a shutter speed sufficient for stopping motion at the lowest-noise ISO setting, making this point irrelevant.

Did you notice the diffraction softness showing in the R7 f/8 result vs. f/5.6?

Usually, a lens produces better image quality in the center of the image circle than in the periphery. APS-C imaging sensors utilize only the optimal center of the imaging circle. However, extenders magnify the center of the image circle, also utilizing the sweet spot. Thus, both options avoid the worst aberrations.

Here is a periphery comparison from the test described above:

These results tell a story similar to the first results.

Hopefully, the mix of information presented in this article was helpful. A conclusion from this discussion is that the Canon EOS R7 (or another high-density APS-C format camera) is a viable alternative to a 1.4x extender on a full-frame model when significant cropping (APS-C angle of view or smaller) will be required. That's just in case you needed an excuse to get this high-performance camera.

Just posted: Lowepro Powder Backpack 500 AW Review.

The Powder 500 AW is a great ultralight multipurpose photography backpack.

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Just posted: ProMediaGear GKJRC Katana Gimbal Head Review.

I borrowed this awesome-looking gimbal head along with the ProMediaGear GKC Katana Gimbal Head to test the Canon RF 800mm F5.6 L IS USM Lens. The reviews of the same product type from the same manufacturer will read similarly.

The GKJRC Katana is the smaller, lighter, and less expensive option.

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Just posted: ProMediaGear GKC Katana Gimbal Head Review.

I borrowed this gimbal head along with the ProMediaGear GKJRC Katana Gimbal Head Review to test the Canon RF 800mm F5.6 L IS USM Lens. The reviews of the same product type from the same manufacturer will read similarly.

The GKC Katana is the larger, heavier, and more expensive option. Few tripod heads are as strong and rigid as this one.

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Just posted: Canon EOS R10 Review

This is an impressive-performing camera, especially at this price point.

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Just posted: Canon EOS R7 Review

Sometimes you need to call a long term project finished. While I'll call the R7 review that, I expect udpates to go on long into the future. Minimally, I hope to add some more complete camera comparisons.

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Check out the brief Canon EOS R7 Auto Level Feature Demo on the updated review page.

This is a valuable feature.

Working through the Canon EOS R7 and Canon EOS R10 reviews, I just crossed the buffer capacity testing line item off of the to-do list and thought I'd share the results here.

The question was: Does a fast memory card make a difference in Canon EOS R7 performance?

Let's create some datapoints.

The Canon EOS R7 15 and 30 fps continuous shooting modes were tested using manual mode (no AE time lag) using ISO 100, a 1/8000 (or 1/16000 electronic) shutter speed (no waiting for the shutter operation), a wide open aperture (no time lost due to aperture blades closing), and manual focus (no focus lock delay). The image was black for the smallest file size, the battery was near full charge, and the specified freshly-formatted fast memory card was loaded.

In the table below, the V90 and V60 indicate the minimum write speed specifications for the memory cards used in the test. You care about the minimum write speed when photographing (or during movie capture), and fast card reading is always associated with fast writing.

Specifically, these tests used the Lexar 256GB Professional 2000x V90 300 MB/s UHS-II SDXC (high performance option) and Lexar 256GB Professional 1667x V90 250 MB/s UHS-II SDXC (great value, still fast option) memory cards. The first two sets of tests were so fun that I added a reasonably fast UHS-I V30 card to the chart.

The numbers indicate the image count at buffer full — the first pause in continuous shooting.

Breaking it down — what do those numbers tell us?

First, those of us who need the camera fully ready as fast as possible or need to review the last-captured image immediately after shooting a long burst (and those of us who are impatient) will want a faster card for the considerably faster buffer clearing ability.

Photographers selecting the RAW file format will notice the performance benefit of a V90 card, but the V60 card benefit over V30 is limited to the 1st curtain RAW mode — and there is a noticeable difference.

Those shooting in CRAW format will not notice an increased continuous image capture count from the faster card.

The CRAW file format is made attractive by these numbers, and those shooting in JPG format will enjoy a considerably higher number of images captured before the buffer full condition.

A vast number of memory cards are available, and they have varying speeds, but these tests give us a look at this camera's performance.

What about the R10? Does a fast memory card make a difference in Canon EOS R10 performance? Here is the that chart:

With few exceptions, the faster card provides more images before the buffer full pause and a shorter time until the buffer is clear.

I became bored after capturing a huge number of V90 and V60 1st curtain electronic shutter CRAW format images and didn't complete those tests. The camera appeared to support that frame rate indefinitely.

Again, the CRAW file format appears attractive by these numbers, and those shooting in JPG format will enjoy a considerably higher number of images captured before the buffer full condition.

Order the Canon EOS R7 at B&H | Adorama | Canon | Amazon | WEX.

Order the Canon EOS R10 at B&H | Adorama | Canon | Amazon | WEX.

Rent the Canon EOS R7 from Lensrentals.

Rent the Canon EOS R10 from Lensrentals.

Just posted: Canon RF-S 18-45mm F4.5-6.3 IS STM Lens Review.

As small, light, and inexpensive as zoom lenses come.

Support this site by ordering the Canon RF-S 18-45mm F4.5-6.3 IS STM Lens from B&H | Adorama | Canon USA | Amazon USA | WEX

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Just posted: Canon RF-S 18-150mm F3.5-6.3 IS STM Lens Review

Because of its small size, light weight, and low cost characteristics, this lens can make sense even in a full-frame kit.

Support this site by ordering the Canon RF-S 18-150mm F3.5-6.3 IS STM Lens from B&H | Adorama | Canon USA | Amazon USA | WEX

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Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Canon RF-S 18-45mm F4.5-6.3 IS STM Lens page.

How does Canon's tiny, lightweight, inexpensive, new standard zoom lens perform? Check out the test results and create comparisons, including:

Canon RF-S 18-45mm compared to the Canon RF-S 18-150mm Lens

Support this site by ordering the Canon RF-S 18-45mm F4.5-6.3 IS STM Lens from B&H | Adorama | Canon USA | Amazon USA | WEX

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Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Canon RF-S 18-150mm F3.5-6.3 IS STM Lens page.

Create some comparisons!

Support this site by ordering the Canon RF-S 18-150mm F3.5-6.3 IS STM Lens from B&H | Adorama | Canon USA | Amazon USA | WEX

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Just posted: Sigma 16-28mm F2.8 DG DN Contemporary Review.

Support this site by ordering the Sigma 16-28mm F2.8 DG DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 16-28mm F2.8 DG DN Contemporary Lens from Lensrentals.

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Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Sigma 16-28mm F2.8 DG DN Contemporary Lens page.

This is a small, lightweight lens.

Here is the Sigma 16-28mm F2.8 DG DN Contemporary Lens compared to the Tamron 17-28mm f/2.8 Di III RXD Lens, the most similar alternative.

Support this site by ordering the Sigma 16-28mm F2.8 DG DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

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Noise test results are now available on the Canon EOS R7 and Canon EOS R10 pages.

Take some time to explore the 280 test results just added.

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Order the Canon EOS R10 at B&H | Adorama | Canon | Amazon | WEX.

Rent the Canon EOS R7 from Lensrentals.

Rent the Canon EOS R10 from Lensrentals.

Resolution test results are now available on the Canon EOS R7 and Canon EOS R10 pages.

The R7 results appear clean, showing the extreme pixel density working well.

The R10 results appear especially sharp, including a bit of moiré.

A growing number of cameras can be compared using the Canon RF 85mm F1.2 L USM Lens test results, and many more can be compared using the Canon EF 200mm f/2L IS USM Lens test results. Use f/4 or f/5.6 to reach the lens's optimal image quality.

Here are some comparisons to get you started:

EOS R7 compared to the R10

EOS R7 compared to the R5

EOS R7 compared to the R3

EOS R7 compared to the R

EOS R7 compared to the 5D Mark IV

EOS R7 compared to the 90D

EOS R7 compared to the 7D Mark II

EOS R10 compared to the R

EOS R10 compared to the Rebel T7i/T8i

EOS R10 compared to the 90D

Build your own. There are many other comparisons available.

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Order the Canon EOS R10 at B&H | Adorama | Canon | Amazon | WEX.

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Rent the Canon EOS R10 from Lensrentals.

Just posted: Sony FE PZ 16-35mm F4 G Lens Review.

This is an outstanding ultra-wide to wide-angle zoom lens option, geometric distortion aside.

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Just posted: Sony FE 24-70mm F2.8 GM II Lens Review.

Excellent lens. Love the size and weight.

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Just posted: Canon RF 800mm F5.6 L IS USM Lens Review.

Is it worth the price?

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Image quality test results are now available on the Sony FE PZ 16-35mm F4 G Lens Review.

Sharp lens.

Note that the severe barrel distortion at the wide end of the focal length range will require correction most of the time.

Here are some Sony FE PZ 16-35mm F4 G Lens comparisons (compare at various focal lengths, including 35mm):

Compared to the Sony FE 16-35mm F4 ZA OSS Lens

Compared to the Sony FE 16-35mm F2.8 GM Lens

Compared to the Tamron 17-28mm f/2.8 Di III RXD Lens

Compared to the Canon RF 14-35mm F4 L IS USM Lens (distortion correction forced for the Canon lens)

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Image quality test results are now available on the Sony FE 24-70mm F2.8 GM II Lens page.

This little lens turns in signficantly sharper image quality than its predecessor. Here are some comparisons (minimally compare 70mm also):

Compared to the Sony FE 24-70mm F2.8 GM Lens (visualize between the modestly different test camera resolutions)

Compared to the Tamron 28-75mm f/2.8 Di III VXD G2 Lens

Compared to the Sigma 24-70mm f/2.8 DG DN Art Lens

Compared to the Canon RF 24-70mm F2.8 L IS USM Lens

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Image quality test results are now available on the Canon RF 800mm F5.6 L IS USM Lens page.

The results appear as expected.

Here is the Canon RF 800mm F5.6 L IS USM Lens compared to the:

Canon RF 400mm F2.8 L IS USM Lens + RF 2x

Canon RF 600mm F4 L IS USM Lens + RF 1.4x

RF 800 with 1.4x vs. Canon RF 600mm F4 L IS USM Lens + RF 1.4x

Sorry, I need a larger studio or smaller test chart to capture results from the RF 800 and 2x combination.

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Just posted: ProMediaGear TR424/TR424L Pro-Stix Carbon Fiber Tripod Review.

Impressive product.

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The Canon EOS R10 is here, and it is time to set up this camera for use. Following are the 46 steps taken to prepare an out-of-the-box EOS R10 for use.

1. Open the box, find the battery, place it in the charger, and plug it in.
2. While the battery is charging, unpack the other items you want from the box.
3. Not required, but consider downloading and installing the latest Canon imaging software to get support for the latest camera model(s). Canon Digital Photo Pro (DPP), EOS Utility, and Lens Registration Utility are the options I manually include in the install.
4. Attach the neck strap (if using).
5. Insert a memory card (we'll format the card in a later step), insert a charged battery, and power the camera on.
6. The date, time, and time zone setup screen will show at the first startup. Use the rear control dial and set button to update this information.
7. Set the camera's mode to Av, Tv, or M (some modes may provide only a subset of available menu options).
8. Scroll through all of the menu tabs to configure the camera as follows:
9. Shooting Menu, Tab 1: Image quality: Use the top control dial to set RAW to "RAW", and use the rear control pad to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post-processing work)
10. Shooting Menu, Tab 2: Auto Lighting Optimizer: Off
11. Shooting Menu, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust white balance modestly during post-processing)
12. Shooting Menu, Tab 4: Picture Style: Neutral with Sharpness = 1 (Note: the low contrast "Neutral" picture style provides a histogram that best shows the available dynamic range. I usually change the Picture Style to "Standard" in DPP after capture.)
13. Shooting Menu, Tab 5: Lens Aberration Correction: All options "OFF" (I suggest that most photographers enable Chromatic Aberration correction)
14. Shooting Menu, Tab 5: High ISO speed NR: Low (noise reduction is destructive to images details - I prefer to add noise reduction sparingly during post-processing)
15. Shooting Menu, Tab 7: Release shutter without card: OFF (only in a retail store would you want to press the shutter release without saving the image file)
16. Shooting Menu, Tab 8: Image review: Review duration: 4 sec. (the Viewfinder review option is disabled by default, speeding the shooting process)
17. Shooting Menu, Tab 9: Shooting info. disp.: Screen info. settings: Enable 1, 2, 3, and 4; edit screen 2 to show only: Basic shooting info and Electronic level; edit screen 3 to show only: Basic shooting info, Histogram, and Electronic level
18. Shooting Menu, Tab 9: Shooting info. disp.: VF info/toggle setting: Enable 1, 2, and 3 (default); edit screen 2 to show only: Electronic level; edit screen 3 to show only: Histogram and Electronic level
19. Shooting Menu, Tab 9: Shooting info. disp.: Grid display: 3x3 (sometimes the 3x3 grid is helpful for alignment checking while not complicating the view)
20. Shooting Menu, Tab 9: Shooting info. disp.: Histogram disp: RGB, Small (show the brightness levels of each channel separately and do not let the graph to take up much space in the display as it can affect the perceived composition)
21. Shooting Menu, Tab 9: Disp performance: * select Smooth if shooting fast action and battery life is not a concern. Select Power saving otherwise.
22. AF Menu, Tab 1: Subject to detect: Select People, Animals, or No priority as makes sense for your current shooting scenario
23. AF Menu, Tab 4: Touch & drag AF settings: Touch & drag AF: Enable (allows the thumb drag across the rear LCD to quickly move the AF point while looking through the electronic viewfinder)
24. AF Menu, Tab 4: Limit AF methods: enable Spot AF, 1-point AF, Whole area AF
25. AF Menu, Tab 4: Orientation linked AF point: Separate AF pts: Pt only (instructs the camera to individually save the selected AF points for vertical and horizontal orientation)
26. AF Menu, Tab 5: MF peaking settings: Peaking: On
27. AF Menu, Tab 6: RF lens MF focus ring sensitivity: Linked to rotation degree
28. Playback Menu, Tab 4: Magnification (apx): 10x (allows one button press during playback to zoom deeply into the image)
29. Playback Menu, Tab 5: Playback information display: 1, 2, and 3 only; change view 2 histogram to RGB
30. Playback Menu, Tab 6: Highlight Alert: Enable (overexposed pixels will blink during image review)
31. Wireless Menu, Tab 1: Airplane mode: On (turn off wireless when not in use)
32. Tools Menu, Tab 1: Format card (always format a memory card in-camera before using it - all data on the card will be lost)
33. Tools Menu, Tab 1: Auto Rotate: On computer (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
34. Tools Menu, Tab 2: Mode guide: Disable
35. Tools Menu, Tab 2: Beep: Disable (probably no one wants to hear your camera's beep)
36. Tools Menu, Tab 5: Custom shooting mode (C1, C2): Auto update set: Enable (see Configuring Custom Shooting Modes)
37. Tools Menu, Tab 5: Copyright information: enter as desired
38. Custom Functions Menu, Tab 1: Bracketing auto cancel: OFF (I want to control when AEB (Auto Exposure Bracketing) is enabled and disabled)
39. Custom Functions Menu, Tab 1: Bracketing sequence: -0+ (if images are captured in brightness sequence, they are easier to work with during post-processing. Capturing the darkest image first means quickly getting the first frame)
40. Custom Functions Menu, Tab 3: Customize buttons: turn off white balance, turn off flash exposure compensation, enable exposure compensation, enable AF Area
41. Custom Functions Menu, Tab 3: Customize dials: Control ring: OFF (consider using this dial for a function logical for your needs)
42. Custom Functions Menu, Tab 4: Default erase option: [Erase] selected (less safe, but one less button press required to delete an image)
43. Custom Functions Menu, Tab 4: Retract lens on power off: OFF (prevents a carefully-selected focus distance from resetting when the camera auto powers off)
44. My Menu: Add My Menu 1; Register the following options: Expo.comp./AEB, IS (Image Stabilizer) mode, Expo. simulation, Subject to detect, Format card, Date/Time/Zone (great for monitoring the time); reorder menu items as desired
45. My Menu: Add My Menu 2; Register the following options: Anti-flicker shoot., Focus bracketing, Shutter mode, Disp. performance, Sensor cleaning, Number of bracketed shots, RAW burst mode, reorder menu items as desired
46. With a lens mounted and a subject focused on, adjust the viewfinder diopter until the scene is sharp

I make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.

To copy this configuration means you intend to shoot as I do - including in RAW-only format. While this setup works great for me, you should adjust the setup to your needs.

If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when being serviced or when acquiring an additonal camera, you will be ready to create your setup quickly, while ensuring that an important setting is not omitted. If you purchase another same or similar camera, setup will be fast and identical.

More Information

Canon EOS R10

Order the Canon EOS R10 at B&H | Adorama | Canon | Amazon | WEX.

Rent the Canon EOS R10 from Lensrentals.

The Canon EOS R7 is here, and it is time to set up this camera for use. Following are the 48 steps taken to prepare an out-of-the-box EOS R7 for use.

1. Record serial number and add camera to insurance policy
2. Open the box, find the battery, place it in the charger, and plug it in.
3. While the battery is charging, unpack the other items you want from the box.
4. Not required, but consider downloading and installing the latest Canon imaging software to get support for the latest camera model(s). Canon Digital Photo Pro (DPP), EOS Utility, and Lens Registration Utility are the options I manually include in the install.
5. Attach the neck strap (if using).
6. Insert a memory card (we'll format the card in a later step), insert a charged battery, and power the camera on.
7. The date, time, and time zone setup screen will show at the first startup. Use the rear control dial and set button to update this information.
8. Set the camera's mode to Av, Tv, or M (some modes may provide only a subset of available menu options).
9. Scroll through all of the menu tabs to configure the camera as follows:
10. Shooting Menu, Tab 1: Image quality: Use the top control dial to set RAW to "RAW", and use the rear control dial to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post-processing work)
11. Shooting Menu, Tab 2: Auto Lighting Optimizer: Off
12. Shooting Menu, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust white balance modestly during post-processing)
13. Shooting Menu, Tab 4: Picture Style: Neutral with Sharpness = 1 (Note: the low contrast "Neutral" picture style provides a histogram that best shows the available dynamic range. I usually change the Picture Style to "Standard" in DPP after capture.)
14. Shooting Menu, Tab 5: Lens Aberration Correction: All options "OFF" (I suggest that most photographers enable Chromatic Aberration correction)
15. Shooting Menu, Tab 5: High ISO speed NR: Low (noise reduction is destructive to images details - I prefer to add noise reduction sparingly during post-processing)
16. Shooting Menu, Tab 7: Release shutter without card: OFF (only in a retail store would you want to press the shutter release without saving the image file)
17. Shooting Menu, Tab 8: Auto Level: Enable (rotates the sensor to keep the image level, disable this feature to enable H+ and H continuous shooting modes along with electronic 1st-curtain)
18. Shooting Menu, Tab 8: Image review: Review duration: 4 sec. (the Viewfinder review option is disabled by default, speeding the shooting process)
19. Shooting Menu, Tab 9: Shooting info. disp.: Screen info. settings: Enable 1, 2, 3, and 4; edit screen 2 to show only: Basic shooting info and Electronic level; edit screen 3 to show only: Basic shooting info, Histogram, and Electronic level
20. Shooting Menu, Tab 9: Shooting info. disp.: VF info/toggle setting: Enable 1, 2, and 3 (default); edit screen 2 to show only: Electronic level; edit screen 3 to show only: Histogram and Electronic level
21. Shooting Menu, Tab 9: Shooting info. disp.: Grid display: 3x3 (sometimes the 3x3 grid is helpful for alignment checking while not complicating the view)
22. Shooting Menu, Tab 9: Shooting info. disp.: Histogram disp: RGB, Small (show the brightness levels of each channel separately and do not let the graph to take up much space in the display as it can affect the perceived composition)
23. Shooting Menu, Tab 9: Disp performance: * select Smooth if shooting fast action and battery life is not a concern. Select Power saving otherwise.
24. AF Menu, Tab 1: Subject to detect: Select People, Animals, or No priority as makes sense for your current shooting scenario
25. AF Menu, Tab 4: Touch & drag AF settings: Touch & drag AF: Enable (allows the thumb drag across the rear LCD to quickly move the AF point while looking through the electronic viewfinder)
26. AF Menu, Tab 4: Limit AF methods: enable Spot AF, 1-point AF, Whole area AF
27. AF Menu, Tab 4: Orientation linked AF point: Separate AF pts: Pt only (instructs the camera to individually save the selected AF points for vertical and horizontal orientation)
28. AF Menu, Tab 5: MF peaking settings: Peaking: On
29. AF Menu, Tab 6: RF lens MF focus ring sensitivity: Linked to rotation degree
30. Playback Menu, Tab 5: Magnify (apx): 10x (allows one button press during playback to zoom deeply into the image)
31. Playback Menu, Tab 6: Playback information display: 1, 2, and 3 only; change view 2 histogram to RGB
32. Playback Menu, Tab 6: Highlight Alert: Enable (overexposed pixels will blink during image review)
33. Wireless Menu, Tab 1: Airplane mode: On (turn off wireless when not in use)
34. Tools Menu, Tab 1: Format card (always format a memory card in-camera before using it - all data on the card will be lost)
35. Tools Menu, Tab 1: Auto Rotate: On computer (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
36. Tools Menu, Tab 2: Mode guide: Disable
37. Tools Menu, Tab 3: Beep: Disable (probably no one wants to hear your camera's beep)
38. Tools Menu, Tab 6: Custom shooting mode (C1, C2, C3): Auto update set: Enable (see Configuring Custom Shooting Modes)
39. Tools Menu, Tab 6: Copyright information: enter as desired
40. Custom Functions Menu, Tab 1: Bracketing auto cancel: OFF (I want to control when AEB (Auto Exposure Bracketing) is enabled and disabled)
41. Custom Functions Menu, Tab 1: Bracketing sequence: -0+ (if images are captured in brightness sequence, they are easier to work with during post-processing. Capturing the darkest image first means quickly getting the first frame)
42. Custom Functions Menu, Tab 3: Customize buttons: M-Fn: Dial Function settings (press Info): turn off ISO (there is a dedicated button), turn off white balance, turn off flash exposure compensation, enable exposure compensation, enable AF area
43. Custom Functions Menu, Tab 3: Customize dials: Control ring: OFF (consider using this dial for a function logical for your needs)
44. Custom Functions Menu, Tab 4: Default erase option: [Erase] selected (less safe, but one less button press required to delete an image)
45. Custom Functions Menu, Tab 4: Retract lens on power off: OFF (prevents a carefully-selected focus distance from resetting when the camera auto powers off)
46. My Menu: Add My Menu 1; Register the following options: Expo.comp./AEB, IS (Image Stabilizer) mode, Display simulation, Subject to detect, Format card, Date/Time/Zone (great for monitoring the time); reorder menu items as desired
47. My Menu: Add My Menu 2; Register the following options: Anti-flicker shoot., Focus bracketing, Shutter mode, Disp. performance, Sensor cleaning, Number of bracketed shots, reorder menu items as desired
48. With a lens mounted and a subject focused on, adjust the viewfinder diopter until the scene is sharp

I make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.

To copy this configuration means you intend to shoot as I do - including in RAW-only format. While this setup works great for me, you should adjust the setup to your needs.

If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when being serviced or when acquiring an additonal camera, you will be ready to create your setup quickly, while ensuring that an important setting is not omitted. If you purchase another same or similar camera, setup will be fast and identical.

More Information

Canon EOS R7

Order the Canon EOS R7 at B&H | Adorama | Canon | Amazon | WEX.

Rent the Canon EOS R7 from Lensrentals.

Canon just introduced some outstanding new gear:

Canon EOS R7 Hands-On Review (mostly completed, more to come)

Canon EOS R10 Hands-On Review (mostly completed, more to come)

Canon RF-S 18-45mm F4.5-6.3 IS STM Lens (specs and product images)

Canon RF-S 18-150mm F3.5-6.3 IS STM Lens (specs and product images)

Notes

• The RF-S 18-45mm features a new optical design.
• The RF-S 18-150mm shares the optical design of the Canon EF-M 18-150mm f/3.5-6.3 IS STM, a high performing lens.
• The EOS M series remains highly popular and is not discontinued — the R10 is not a replacement for the M6 II.
• The R10 and R7 do not have battery grips available or the bottom positioning hole provisions for one.
• The RF mount and all of its benefits transfer to the new cameras and lenses.
• Full-frame R series cameras function normally (in crop mode) when RF-S lenses are mounted.

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Just posted: Sigma 18-50mm F2.8 DC DN Contemporary Lens Review

This lens is available in Sony E and Leica L mounts.

Order the Sigma 18-50mm F2.8 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

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Just posted: Sigma 16mm F1.4 DC DN Contemporary Lens Review

This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Save $75.00 instantly via the current Sigma promotion.

Order the Sigma 16mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

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Just posted: Sigma 30mm F1.4 DC DN Contemporary Lens Review

This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Take advantage of the $75.00 instant savings available on this already great value lens (Fujifilm X mount excluded).

Order the Sigma 30mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 30mm F1.4 DC DN Contemporary Lens from Lensrentals.

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Just posted: MindShift Gear Filter Nest Mini Review.

The next step in bettering the kit.

The MindShift Gear Filter Nest Mini has been backordered everywhere, but it just showed up in stock at B&H

Watch for the Filter Nest Mini to arrive at Think Tank Photo | Adorama | WEX

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Just posted: Pelican 1615 Air Wheeled Hard Case Review.

This case is nearly the same as the Pelican 1637 Air Wheeled Hard Case, with one significant exception — the dimensions.

Order the Pelican 1615 Air Wheeled Hard Case from B&H | Adorama | Amazon USA | WEX

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Time to start planning: a total supermoon lunar eclipse is coming on May 15-16, 2022 and, barring clouds, will be visible to a significant population, including most of the USA.

From EarthSky.org:

People in the Americas, Europe and Africa will see the total lunar eclipse during the night of May 15-16, 2022. Plus, on this night, the moon is close: a supermoon.

Penumbral eclipse begins at 1:32 UTC on May 16 (9:32 p.m. EDT on May 15).

Partial eclipse begins at 2:27 UTC on May 16 (10:27 p.m. EDT on May 15).

Totality begins (moon engulfed in Earth’s shadow) begins at 3:29 UTC on May 16 (11:29 p.m. EDT on May 15).

Totality ends at 4:53 UTC on May 16 (12:53 a.m. EDT).

Partial eclipse ends at 5:55 UTC on May 16 (1:55 a.m. EDT).

Penumbral eclipse ends at 6:50 UTC on May 16 (2:50 a.m. EDT).

Maximum eclipse is at 4:12 UTC on May 16 (12:12 a.m. EDT).

Duration of totality: About 85 minutes.

Note: This total eclipse is central. That means the moon passes centrally through the axis of Earth’s dark (umbral) shadow. The moon is in a near part of its orbit – close to Earth – during the eclipse. It’s a supermoon.

Because they are so deep, such eclipses typically have the longest total phases. In this case, the duration of totality lasts almost an hour and a half: 84.9 minutes!

Get the complete lunar eclipse details at EarthSky.org

Plan to participate in this event. Order your long telephoto lens now from B&H to ensure the ability to capture the lunar details in high resolution. You might want to also pick up a tracking mount.

Here is the story behind the Super Wolf Blood Moon Lunar Eclipse 2019 Progression Composite Image.

Use your favorite night sky app (such as Photo Ephemeris) to determine moon's elevation. You need to ensure that the shooting location does not have obstructions that will not block the view during the shooting period.

Many of us will find the moon high in the sky when the eclipse begins and will be shooting nearly straight up during totality. The How to Shoot Upward with a Large Lens While Using a Gimbal Tripod Head article may be helpful.

Just posted: Cartoni Focus 8 Fluid Video Head Review.

The Focus 8 is entry level into the high-performing Cartoni Focus series.

Order the Cartoni Focus 8 Fluid Video Head from B&H or Adorama.

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Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Sigma 18-50mm F2.8 DC DN Contemporary Lens page.

This lens is available in Sony E and Leica L mounts. Order the Sigma 18-50mm F2.8 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 18-50mm F2.8 DC DN Contemporary Lens from Lensrentals.

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Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Sigma 16mm F1.4 DC DN Contemporary Lens page.

This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Save $75.00 instantly via the current Sigma promotion. Order the Sigma 16mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 16mm F1.4 DC DN Contemporary Lens from Lensrentals.

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Image quality, vignetting, flare, and distortion test results along with specs and measurements are now available on the Sigma 30mm F1.4 DC DN Contemporary Lens page.

This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Save $75.00 instantly via the current Sigma promotion. Order the Sigma 30mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 30mm F1.4 DC DN Contemporary Lens from Lensrentals.

Please share!